Interpretação de uma obra literária com base num imaginário desenhado - as cidades invisíveis, Italo Calvino
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2020
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A partir da obra “As cidades invisíveis” de Italo Calvino, o investigador, segundo um processo definido pelo próprio, para o registo da sua imaginação e utilizando a técnica do desenho usa os pontos mencionados e destacados por Italo Calvino na obra, que conduzem o intérprete na sua representação.
Subsiste uma relação harmoniosa entre a imaginação e o desenho que o investigador destaca a partir de uma metodologia e de uma imagem originária da reminiscência vivida a partir das sensações colhidas.
Esta exploração, provém do auxílio de várias técnicas de traçado e de mancha, que permitem essas manifestações, retratadas segundo um entendimento que surge a partir da cultura e das experiências vivenciadas pelo intérprete na conceção das várias cidades.
Depois de todas as 55 (cinquenta e cinco) cidades interpretadas, seguiu-se um processo de vários inquéritos, dividido em várias fases que determinaram uma classificação segundo um critério referenciado por pontos que tiveram como objetivo, definir as três mais bem pontuadas.
Esses três desenhos permitiram desenvolver uma cidade número 56, Sarah, onde estão representadas algumas características provenientes dessas três interpretações e que favoreceram a composição imaginada e interpretada pelo investigador perante os resultados obtidos dos inquéritos.
Perante esta análise das várias interpretações, seguindo também exemplos de casos de estudo e dos pormenores evidenciados pelo autor na obra “As cidades invisíveis”, podemos concluir que esta técnica e esta metodologia permitem desencadear um potencial imaginativo implícito nas formas que cada sujeito possa obter resultantes da sua experiência vivida.
From the work “The invisible cities” by Italo Calvino the researcher, according to a process defined by himself to register his imagination, used the drawing technique driven from points mentioned and highlighted by Italo Calvino that allow the interpreter a better perception of his representation. There remains a harmonious relationship between imagination and drawing that the researcher highlights based on a methodology and an image originating from the reminiscence lived from the collected sensations. With the support of various tracing and staining techniques, allowed these manifestations to be portrayed according to an understanding that arises from the culture and experiences lived by the interpreter in the design of the various cities. After all 55 (fifty-five) cities were interpreted, it was according to a process of several inquiries divided into several phases that determined the classification according to a criteria referenced by points and that aimed to define the three best scored drawings. These three drawings allowed the development of the city number 56, Sarah, where some characteristics from these three interpretations are represented and which favored the composition imagined and interpreted by the researcher in view of the results obtained from the surveys. Supported by the analysis of various interpretations and also according to case study’s examples and the details evidenced by the author in the work “The invisible cities”, we can conclude that this technique and this methodology, allow to unleash an imaginative potential implicit in the forms that each subject can obtain, resulting from life experience.
From the work “The invisible cities” by Italo Calvino the researcher, according to a process defined by himself to register his imagination, used the drawing technique driven from points mentioned and highlighted by Italo Calvino that allow the interpreter a better perception of his representation. There remains a harmonious relationship between imagination and drawing that the researcher highlights based on a methodology and an image originating from the reminiscence lived from the collected sensations. With the support of various tracing and staining techniques, allowed these manifestations to be portrayed according to an understanding that arises from the culture and experiences lived by the interpreter in the design of the various cities. After all 55 (fifty-five) cities were interpreted, it was according to a process of several inquiries divided into several phases that determined the classification according to a criteria referenced by points and that aimed to define the three best scored drawings. These three drawings allowed the development of the city number 56, Sarah, where some characteristics from these three interpretations are represented and which favored the composition imagined and interpreted by the researcher in view of the results obtained from the surveys. Supported by the analysis of various interpretations and also according to case study’s examples and the details evidenced by the author in the work “The invisible cities”, we can conclude that this technique and this methodology, allow to unleash an imaginative potential implicit in the forms that each subject can obtain, resulting from life experience.
Descrição
Orientação: Filipa Alexandra Gomes da Silva Oliveira Antunes
Palavras-chave
MESTRADO INTEGRADO EM ARQUITETURA, ARQUITETURA, CIDADES, DESENHO, IMAGINAÇÃO, ARCHITECTURE, CITIES, DRAWING, IMAGINATION